Classic to Modern English Literature

  Q: Dramatically explain the Catharsis: pity and fears of Poetics by Aristotle .                               Catharsis is the process of releasing, and thereby providing relief from, strong or repressed emotions. " Music is a means of catharsis for them ." Catharsis is from the Ancient Greek word " katharsis ", meaning " purification " or " cleansing ", commonly used to refer to the purification and purgation of thoughts and emotions by way of expressing them. The desired result is an emotional state of renewal and restoration. Aristotle a tragedy is an imitation of an action.   What the actor on stage does thrusting through the curtain with his sword represents Hamlet thrusting through the curtain with his sword. Aristotle 's fragmentary treatise on the Fine Arts (Poetike) has been the subject of commentary since its composition in the 4th century B.C. to Aristotle 's concept of katharsis and the " medical " vs &quo

Aristotle's fragmentary treatise on the Fine Arts (Poetike) has been the subject of commentary since its composition in the 4th century B.C. It is likely one of the most extensively analyzed works of secular literature in the West. Yet, it has received surprisingly little attention from the psychoanalytic world, aside from occasional references to Aristotle's concept of katharsis and the "medical" versus "moral" controversy surrounding it. The pre-eminent scholar on katharsis, whose views eventually became predominant, was Jakob Bernays, whose *Zwei Abhandlungen über die Aristotelische Theorie des Dramas* appeared in Berlin in 1880. According to Bernays, the effect of tragedy results from the pleasurable relief it provides the spectator, via the excitation and purging (abreaction) of fear and pity, within the safe confines of the stage. (Jakob Bernays was the uncle of Freud's wife, Martha). Freud's views on the function of tragedy, as expressed in &q

Else's 1986 (p. 159) claims that most interpretations of Aristotle assert he requires some form of pity, fear, and catharsis to be produced in audiences. Because most of these interpretations do not explicitly address the question we aim to answer in this paper, there is some risk of misinterpreting most Aristotle commentators as supporting the position we oppose. However, the overall impression is so strong that we confidently refer to this view as the "common" interpretation. As an analysis of tragedy, the common interpretation is unsatisfactory. It is well-known that people's emotional reactions to the events they witness or hear about depend on their emotional states at the time. If Aristotle truly believed certain emotional responses in audiences were necessary for tragedy, or good tragedy, he would have dedicated at least some pages to preparing people so that exposure to dramatic tragedy would effectively arouse the correct emotions. This Aristotle does not do.

In defining dramatic tragedy, Aristotle appeals in part to the psychological notions of pity, fear, and catharsis. The question to be addressed in this paper is whether, in Aristotle's analysis, the production of pity, fear, and a catharsis of these emotions in audiences—readers, auditors, or viewers—is essential to works of dramatic tragedy, or at least good works of dramatic tragedy. We follow Else (1956, 1986) in holding that it is not. Topics concerning pity, fear, and especially catharsis are some of the most frequently discussed in the literature on Aristotle's analysis of tragedy. However, very rarely in this literature is it explicitly stated that the above question is the one under discussion. Fortenbaugh (1975) and Randall (1960) definitely come down on the opposite side, interpreting Aristotle as holding that the production of these psychological effects by a dramatic work is essential to its being at least a good tragedy. Many commentators, among them Brunius (1966)

Poetics by Aristotle  Question : What is the main subject of Aristotle's "Poetics"? Answer : The main subject of Aristotle's "Poetics" is the theory of tragedy, its structure, components, and the principles underlying it. Question : According to Aristotle, what are the six components of tragedy? Answer : The six components of tragedy, according to Aristotle, are Plot, Character, Thought, Diction, Melody, and Spectacle. Question : What does Aristotle consider the most important element of tragedy? Answer : Aristotle considers the plot (mythos) the most important element of tragedy. Question : Define 'catharsis' as per Aristotle's "Poetics". Answer : 'Catharsis' in Aristotle's "Poetics" refers to the purification or purgation of emotions, particularly pity and fear, which the audience experiences through the events of the tragedy. Question : What is the concept of 'hamartia' in Aristotle's "Poetics&q

Comedy Genre Ladies and gentlemen, gather 'round for a tale of laughter and mirth! Comedy, that cheeky sibling of tragedy, is the art of tickling funny bones and poking fun at human foibles. It's not just about getting giggles; oh no, it's a mirror held up to society, reflecting our quirks and quandaries with a wink and a nudge. Picture this: Ancient Greece, 4th century BCE. Aristotle, that bearded thinker, declares comedy to be all about us social creatures and our silly ways. Fast forward to the 20th century, and we've got Henri Bergson, a French philosopher with a penchant for chuckles, agreeing that laughter is society's way of saying, "Hey you, get back in line!" Now, don't confuse comedy with its rowdier cousins - farce and burlesque. They're the class clowns of the literary world, while comedy tries to keep a straight face (and often fails spectacularly). But where did this merry-making art form come from? Well, buckle up for a wild ride thr